Sunday July 10, 2022
Saturday July 23, 2022
Sunday July 31, 2022
Friday August 12, 2022
Saturday August 20, 2022
Friday November 11, 2022
Sunday November 13, 2022
Join us for REGGAE ON THE PATIO every Friday! NO TICKET NEEDED!Cansaman (Trinity Sound) has been playing reggae music in Portland for the past 20+ years. Cansa has done everything from holding weekly events to opening up for some of the biggest touring acts from Jamaica. You can catch Cansa on www.NiceUpRadio.com every Thursday (5-7pm PST) and Saturday (2-4pm PST). Follow Cansa on Twitch as well for live broadcasts (Twitch.TV/CansaTrinity) every Wednesday and Saturday. Cansa has been a resident DJ and host at the Start Theater for Reggae On The Patio for the past two years. It has been a must go to event for happy hour after a long week at work where people can dance and socialize. Bring your friends and come dance to some sweet reggae music every Friday from 5-9pm for the summer. No cover charge, you must be 21+. We look forward to seeing you.
BANDO [ ONLY FOR DA TRILL] : A night featuring sounds from all over the DIRTY SOUF. Trap from Atlanta, Memphis, Baton Rouge, The SIPP, Houston, and everywhere between. Sounds from Young Dolph, Key Glock, Travis Scott 42 Dugg, Larry June, MoneyBagg Yo, Est GEE, Kodak Black, 21 Savage etc.
There’s more.. SOUNDS BY DONTA
OG TRAPPIN: 101 : Future, Lil Jon and the Eastside Boys, Gucci Mane, Jeezy, T.I, Boosie, Yo Gotti, Project Pat, Thugger, Webbie, Lil Wayne, Big Tymers and more. This is a night for the CULTURE. An authentic Trap Experience
Line UP: @djbnick @djxnykon @kil.4.me Sounds by Donta
Doors: 8:00pm // Event starts: 9:00pm // Ages 21+ w/Valid ID
Doors: 7:00pm // Show: 7:30pm // Ages 21+.
As the project of Brian Flores, the band has been haunting fans with a blend of emotionally wrought post-punk since 2019 and their latest offering is no different. “Club de Vampiros” exudes a melancholy from its undulating synth pads and guitar line as a bouncy bassline carries the song to its end.French Police’s single captures the seduction of dancing in romantic, cavernous spaces filled with fog and a promise of eternity.
The Slackers with Bite me Bambi and Matamoska.
Doors: 7:00pm // Show: 8:00pm // Ages: 21+.
The Slackers are self styled masters of Reggae, Ska and Rock’n’Roll from New York City.
The Slackers began in 1991 in NYC. After years of local gigs and rehearsing in a dingy basement in Manhattan’s lower east side, the band released its debut album, Better Late Than Never, in 1996. The band’s success resulted in the release of a second album, Red Light, on the Epitaph label in 1997. Since then the Slackers have released 11 more studio albums (The Question, Wasted Days, Slackers & Friends, Close My Eyes, Slackers in Dub, Peculiar, Boss Harmony Sessions, Self Medication, Lost and Found, The Great Rocksteady Swindle, and The Slackers [self-titled, 2016] ) 3 live albums (Live at Ernestos, Upsettin Ernestos, Slack in Japan), several EPs (International War Crimminal, My Bed is a Boat), and numerous singles and compilation tracks.
Since 1997 the Slackers have played over 100 shows every year in a total of 46 american states, 7 Canadian provinces, 22 European countries, 5 Latin American countries, and 2 Asian countries.
The band’s musical style is distinct from their contempories; a mix of early Jamaican music with classic 50’s and 60s American styles. There are influences from 50s and 60s Rock’n’Roll, Rythmn and Blues, Jazz and Latin music. Singer Vic Ruggiero has coined the term ‘Jamaican Rock’nRoll.’ to describe it. He says, “The band might play a classic Jamaican style but the vocals are distinctly American east coast, revealing the obvious connection of Jamaican music to the Doo-Wop of Harlem and the Bronx.”
With a solid reputation as the hardest working band in reggae-rock, Kash’d Out delivers an anthem for everyone committed to the daily grind with their new “Highway Robbery” (out April 29, 2022, on LAW Records). The defiantly energetic collaboration with mainstay American alternative rock band Katastro represents the pentacle of Kash’d Outs’ songwriting and musicianship while maintaining the signature spirit, positive energy, and uncommon entrepreneurial hustle for which the band has always been known.
Kash’d Out are no strangers to rolling with the punches as they come and they know a combination of hard work, commitment to fans, and an audacious spirit of determination are required to keep focused and blaze through any roadblocks that may arise on the slow and steady road to success. “Highway Robbery” exemplifies that steadfast quality, which has won the band the support of a dedicated national fanbase of music lovers who show up to their performances in droves, as well as the respect of their musical peers and veterans in the music industry.
Born in 1980 in the nomadic Tuareg encampment Tidene, just outside Agadez, Niger, Bombino (born Goumour Almoctar, also known as Oumara Moctar) came of age during much political upheaval, fleeing with his family to Algeria by 1990, teaching himself guitar by watching videos of his heroes Jimi Hendrix, Dire Straits, Ali Farka Toure and Tinariwen, and returning to northern Niger's largest city, Agadez, seven years later, when he took on music professionally. After years of honing his skills back home and spending time as a shepherd in Libya, he first left Africa and traveled to California in 2006 as lead soloist on tour with Tidawt. There he recorded a desert blues take on the Rolling Stones classic "Hey Negrita'' alongside Keith Richards and Charlie Watts. The following year, filmmaker Hisham Mayet captured Bombino and his electric band for the recording Music from Niger: Guitars from Agadez, Vol. 2, released in 2009 on Sublime Frequencies, Bombino's first official album release.
As the political landscape heated up in Niger again in 2007 and two of his friends and bandmates were accused of being 'Tuareg rebels' and presumed killed by the government, Bombino fled to Burkina Faso, where in 2009 he was tracked down by another filmmaker, Ron Wyman. Ron wanted to help the artist make a proper record. Released in 2011, that record, Agadez, showcased Bombino's captivating vocals, his hypnotic, awe-inspiring guitar playing and evocative rhythms, cited as one of NPR's best discoveries of the year. For his second album, 2013's Nomad, Bombino traveled to Nashville to record with the Black Keys’s Dan Auerbach. The result was a marvelous set, full of grit and funky elegance that firmly established Bombino as a star on the world stage and one of the world's best guitarists. Bombino went to upstate New York to record his third album, Azel, with his band and producer David Longstreth of Dirty Projectors. It was on Azel that Bombino introduced a new genre he dubs 'Tuareggae' - a blend of Tuareg guitar with reggae rhythm - to the world.
His next studio album, Deran, was recorded in Casablanca, Morocco in fall 2017 with just his band and his long-time manager, Eric Herman (who produced the album). The album received rave reviews from across the globe including a full page feature in the New York Times which dubbed Bombino 'The Sultan of Shred.' On December 7, 2018, Deran was nominated for a Grammy award (Best World Music Album), the first-ever Grammy nomination for an artist from Niger. Thousands of proud Nigeriens attended a parade to welcome Bombino home from the Grammy Awards upon his return to Niamey.
His latest album, 'Live In Amsterdam' was recorded at a performance in November 2019 and released in November 2020 (Partisan Records). Bombino dedicated the album to his dear friend and bandmate Illias Mohamed who tragically passed away just a few weeks before the release of the album. The concert in Amsterdam from which the album was made was one of Illias' final performances. Regardless of the challenges life throws at him, Bombino marches ever forward on his mission to use music to spread love, understanding, and the beauty of Tuareg culture throughout the world.
The Aristocrats return to the Star Theater!
Doors: 8:00pm // Show: 9:00pm // Ages 21+.
Over the past eight years The Aristocrats – guitarist Guthrie Govan (Steven Wilson, Asia/GPS, Hans Zimmer), bassist Bryan Beller(Joe Satriani, Dethklok), and drummer Marco Minnemann (Steven Wilson, Joe Satriani, Steve Hackett) – have released critically acclaimed albums, toured the world, and established themselves as one of the most musically original, refreshingly irreverent, and astoundingly entertaining instrumental rock-fusion acts on the planet. Anyone who’s witnessed their live musical high-wire act – employing random amounts of rock, jazz, pop, metal, and even traditional country – can attest that it is informed by the spirit of a true band, one whose improvisational soul allows for anything to happen onstage at any moment…including the occasional wink and nod at the audience. Perhaps Guthrie Govan said it best when he called The Aristocrats “a rowdy democracy of musicianship.”
Despite their individual followings, The Aristocrats’ formation was a matter of happenstance on a barely-paying gig. The electricity was immediately obvious, with their unbeknownst-to-them shared influences infusing a high-energy instrumental fusion with an aggressive, playful, even cheeky edge. The audience response was overwhelming, and the band formed practically by demand on the spot. Three months later, the trio convened in person – eschewing the usual remote file sharing method in favor of actual live band chemistry – to track the album. Consisting of nine tracks (three contributions from each member), the material was a melting pot of their respective influences, ranging from the seminal ’70s jazz-rock fusion of Return To Forever and Mahavishnu Orchestra, to the progressive rock of King Crimson and UK, to guitar heroes like Steve Vai and Joe Satriani, to the absurdly complex and satirical music of Frank Zappa and Mike Keneally, and even to ’90s groove metal like Rage Against The Machine.
Though still in the early stages of her blossoming career, 24-year-old vocalist, violinist and songwriter, Emmaline, has accomplished an impressive laundry list of achievements so far. From being featured in top music publications such as Rolling Stone and American Songwriter to performing as the opening act for 10-time-GRAMMY winner Chaka Khan on her first ever US tour, this Cincinnati based, independent artist captivates the hearts of all who hear her smoky,
jazz-infused, genre-fluid voice.
Using the power of social media, Emmaline kick started her career in 2018 by sharing acoustic covers of popular songs and original material to her social media platforms (@emmalineofficial) where she now boasts nearly 500k followers. Emmaline shines on stage whether it be online or in person, and has performed countless sold-out shows at some of the country’s most notable jazz clubs, music venues and festivals. Her independently released EPs, “All My Sweetest Dreams” and “Necessity” have organically generated well over 1 million streams on Spotify alone and have listeners on the edge of their seats awaiting a debut album drop.
DOORS: 8:00pm // SHOW: 9:00pm // AGES 21+.
Red velvet curtains draw back to reveal a cosmic wheel of fortune, floating in the deep black star-studded theater of infinite space. A whirl of timbres, personalities, and stories. The Turning Wheel, the third full-length by the Bay Area artist SPELLLING (Chrystia Cabral), revolves around themes of human unity, the future, divine love and the enigmatic ups and downs of being a part of this carnival called life.
Venturing to push the boundaries of her primarily synth-based work, SPELLLING took on the ambitious task of orchestrating and self-producing an album that features an ensemble of 31 collaborating musicians. The Turning Wheel incorporates a vast range of rich acoustic sounds that cast SPELLLING’s work into vibrant new dimensions. The double LP is split into two halves — “Above” and “Below.” Lush string quartet shimmer combines with haunting banjo and wandering bassoon leads, as the album progresses from the more jubilant, warm, and dreamy mood of the “Above” tracks to the more chilling and gothic tone of the “Below” tracks. This progression is anchored by SPELLLING’s familiar bewitching vocal style that emphasizes the theatrical and folkloric heart of her songwriting.
The release of The Turning Wheel was delayed by almost a year from its intended release date in September 2020 but the forced pause ended up serving as a blessing in disguise. Navigating the chaos of recording and producing the remaining instrumentalists – either remotely or through rigid socially distanced studio sessions – was immensely difficult, however the delays ultimately opened up the opportunity for SPELLLING to dedicate more attention to her lyrics. The Turning Wheel demonstrates a distinct evolution of lyrical style, from the more incantatory and abbreviated approach of her previous work to a more expansive, narrative production.
The Turning Wheel is a manifestation of this considerable effort, time, and collaborative energy and will surely become a classic for its elegance. And while the artist’s eclectic influences, from soul to psych to pop to noise, remain present, something entirely new has also been born in the cosmic soup of this massive undertaking: a grand and genreless adventure. One that allows the artist’s authenticity to shine and also marks her as a conduit for something with a magic of its own.
Recorded at several studios (Portico, Chase Park, Rialto Row, Dialback Sound), the LP is a snarling devil-may-care batch of 12 tunes. It encompasses a seamless blend of hard rock, psychedelic alt-country and folk stylings — something signature to the unique sound, tone and attitude of the Futurebirds.
“We recorded this album all over the place,” says guitarist/singer Thomas Johnson. “In a lot of ways it kept us from bogging down, at times it was probably inefficient, but ultimately everyone of the songs captures the vibe(s) of the spaces and cities we occupied while we made it.
‘I’m Killin You’ really captures the vibe of the whole record for me. The main theme I had in my head while writing it though, was getting past the negative shit that can live on the periphery (or in the forefront) of life. Killing the bad side of human nature. Being self-aware, and being honest with yourself and trying to find peace with the person you’ve become or are becoming (or always were).”
“We’ve been putting one foot in front of the other for a decade now. Every tour, we get smarter about how we operate, how we craft a live show, how we utilize everyone’s individual talents,” guitarist/singer Carter King adds. “Every day, we become better songwriters, more comfortable as artists and producers, better business people — it’s all about teamwork.”
Now on the backside of a decade of road warrior hard-knocks and well-earned accolades, the Athens, GA rock sextet has been hitting its full stride as of late. It’s a sense of time and place where what’s most important remains at the forefront of the group’s philosophy and deeply-held personal mission — a group of friends making sonically innovative music.
“We have one of the oddest and most talented mix of people to make up a band that I’ve ever seen. Everyone is extremely talented in an assortment of different ways, hilarious, tough, creative, scrappy,” King says. “Stylistically, everyone brings something different to the band, and we’re getting better at simultaneously nurturing those differences, melding them together into one unified thing.”
With a touring schedule resembling some haphazard spider web spun across America, the Futurebirds are unrelenting in their quest to bring the melodic party to your hometown, no matter how far away the destination or how small the stage may be.
“And we’ve learned a lot about life along the way,” guitarist/singer Daniel Womack reflects. “Watching other bands rise and fall, watching the sunrise and the sunset, cried because it hurt, cried because it felt good, watching strangers turn into friends and some into family.”
“In a lot of ways the live show is the last frontier, the last thing left in the music industry that can’t be digitized and given away for free,” Johnson adds. “It’s the thing that keeps us coming back. The act of making something awesome and unique with six individuals, creating a sound-weave, connecting to the core of human existence, that’s the teamwork.”